Wednesday 22 May 2024

Today's training (Routine Deviation)

Here’s a brief outline of my two-hour self-training here in the dojo today. I've posted this as it deviates from my current daily routine, which is something I intermittently do based on discoveries in practice and, ultimately, optimization of my time on the floor each day.

Conclusion of my daily self-training. Wednesday, May 22nd, 2024.

基本

 

1. 横猿臂  (平行立ちから前屈立ち)

Basic yoko-enpi from Heiko-dachi moving into kiba-dachi. (a) Alternate yoko-enpi right and leftward into kiba-dachi—from and returning to heiko-dachi; (b) as previous but add turning 90 degrees and advancing in kiba dachi to the front; (c) as previous but add spinning 360 degrees to the front.

 

2. 縦猿臂から後ろ猿臂、前猿臂そして横猿臂  (平行立ち)

Stationary tate-enpi followed by ushiro-enpi, mae-enpi and yoko-enpi alternatively in heiko-dachi. Variation: when executing yoko-enpi step outward into 騎馬立ち(kiba-dachi).

 

3. 前猿臂から回転しながら横猿臂  (平行立ち)

From heiko-dachi with tateshuto make mae-enpi then with this momentum spin to make yoko-enpi. Variation: when spinning change into 騎馬立ち(kiba-dachi).

 

4. 移動基本:中段外受けから寄り足横猿臂  (前屈立ちから前屈立ち)

Standard syllabus “Idokihon”: Chudan soto-uke kara yoko-enpi (zenkutsu-dachi kara kiba-dachi); also practiced with the additional waza of 裏拳横回し打ち(uraken yokomawashi uchi) and 中段逆突き (chudan gyaku-zuki) transferring forward into zenkutsu-dachi).

 

組手

横猿臂の応用 (Practical application of yoko-enpi). Note the use of direct impacts in various directions and the pragmatic utilization of 転身 (tenshin). In particular, a focus on dealing with attacks from the surprise and rear.

 

 

Today’s kata practice was simply focused on dynamic actions—waza, unsoku and tachikata—furthermore, 力の強弱  (Chikara no kyojaku: basically ‘forcefulness and lightness’).

 

順路三段 (Junro Sandan)

燕飛 (Enpi)

慈恩 (Jion)

舞鶴大 (Maizuru Dai)

  

押忍

アンドレ  バーテル

© André Bertel. Oita City, Japan (2024).

Thursday 16 May 2024

CHANGES IN KIHON (AGE & ADVANCEMENT): A Japan Professional Karate Coach's Perspective

基本稽古 (Kihongeiko — Foundational Training) must change not only as one ages, but as they advance in technical skill. It is critical to note here that this doesn’t mean ‘kihon practice’ becomes a predominantly cerebral activity—this can never be the case (regular physical karate training is utterly imperative); however, one must certainly train smarter as their journey progresses.

 

What I mean by this, is for two primary purposes:

 

(1) You KEEP IMPROVING in karate skill.

 

(2) You AVOID INJURY and avoid aggravating existing injuries—as much as possible.

 

 

Both of these result in LONGEVITY in karate. The first provides purpose, satisfaction and motivation from ADVANCEMENT/SET GOAL ACHIEVEMENTS. The second requires adaptability, innovation and self-awareness for HEALTH.

 

Quality repetitions of the kihonwaza is a critical point. To be honest, high repetitions are something I only require of myself (and those who request such practice). This is because I can’t ‘listen' to other people's bodies. My maxim as an instructor is that “pushing really hard must be guided by each individual”.

 

To be frank, repetitions are only positive if they are ‘quality reps'. If increased speed and power is the aim, impact training, calisthenics and resistance training are 'time better spent' for more experienced karateka.

 

What I’m trying to emphasize here is that both その場基本 (Sonoba Kihon—Stationary fundamentals) and 移動基本  (Sonoba Kihon—Fundamentals on the move) should “…be quality training, more than quantity”. It is absolutely obvious that ‘high repetitions of incorrect form is counterproductive for one’s skill’ and, quite potentially, one’s health. That being said, if one’s skill is sufficient (and health permits) pushing oneself to the limit is good training and motivational. But, again, this depends on each individual’s self-health evaluation on any given day. Everyone must weigh-up the pros and cons in relation to what they wish to achieve, and the danger factor(s).

 

Ironically, in the pre-competition era of karate, the training was more specific to each individual. This is something I returned to doing over ten years ago with trainees. And the result has been far more awesome than I expected! Following this way, karateka really maximize their time in their karate practice and optimize their technical skill. Quite simply, this is because: "training in this way is harmonious with their daily individual physical condition/health." This applies not only to the very young karateka, and the older practitioners, but also with world-level karate athletes in their prime. And IKS has had success, in all of these cases.

 

This is the 空手道 (Karate-Do) I advocate as a professional instructor, and it’s a universal way which: (a) allows each individual to safely maximize their personal skill developments—‘kihon, kata and kumite’—irrespective of where they are ‘now’ on their respective journey; (b) optimizes health through their practice; and (c) results in really enjoying training in the art—as it truly becomes ‘their karate’.

 押忍

アンドレ  バーテル

 © André Bertel. Oita City, Japan (2024).

Tuesday 14 May 2024

卍受け (上段内受け同時に下段受け)

Overview: 

上段内受け同時に下段受け (Jodan uchi-uke doji ni gedan-uke) is often simply referred to as 卍受け (Manji-uke). I need to clarify that often 側面  (Sokumen) is added to both of the receptions, when they are delivered to both sides. Furthermore, instead of 受け (Uke), 構え (Kamae) is utilized… Indeed,this  is the case in Gankaku and many of the kata passed down to us from Asai Tetsuhiko Shuseki-Shihan.

 

Manji-uke (Jodan uchi-uke doji ni gedan-uke) appears in ten of 26 standard 松濤館流  (Shotokan-Ryu) kata and 25 times in total. These points alone verify that this karate-waza has important 応用 (Oyo).

 

To be specific I will list each of these ten kata and the number of times the waza is executed in each of them.

 

1. 平安五段 (Heian Godan): Movements 21 and 23.

2. 抜賽大 (Bassai Dai): Movement 25.

3. 観空大 (Kanku-Dai) Movements 18 and 23.

4. 慈恩 (Jion): Movements 18, 20, 26 and 28.

5. 十手 (Jitte): Movements 19 and 20.

6. 岩鶴 (Gankaku): Movements 15, 16, 17, 25, 29 and 33.

7. 抜賽小 (Bassai Sho): Movements 10 and 11.

8. 観空小 (Kanku-Sho): Movements 23 and 25.

9. 壯鎮 (Sochin): Movements five and ten.

10. 慈韻 (Jiin): Movements two and three.

 

Categorical Variations:

   平安五段 (Heian Godan) involves firstly turning 180 degrees to delivering the waza then switching sides and repeating—on the opposite side—in the same direction.

 

  抜賽大 (Bassai Dai) utilizes a 180 turn with sasho jodan sotonagashi-uke doji ni migi shuto gedan-uchikomi, which is rapid, followed in the same count by slowing making manji-uke via pulling back into heisoku-dachi.

 

 十手 (Jitte), 抜賽小 (Bassai Sho) and 慈韻 (Jiin) are all the same. Single waza repeated on the left then right side (Migi kokutsu-dachi followed by pivoting on the spot 180 degrees into hidari kokutsu-dachi).

 

 慈恩 (Jion) and 観空小(Kanku-Sho) share the same aspects, turning and making sideward actions with the uke, all followed by ‘move-in counterattacks'.

 

 観空大 (Kanku-Dai) utilizes manji-uke after executing jodan mae-geri keage and whilst turning 180 degrees. This is immediately followed by sasho jodan sotonagashi-uke doji ni migi shuto gedan-uchikomi; thus, is reversed version of movement 25 in Bassai Dai.

 

 In 壯鎮 (Sochin) the waza is firstly delivered with a 90 degree turn then a 180 degree turn. However, in both cases the follow is the ‘Muso Gamae’ followed by tateshuto and two consecutive ‘Tsuki’. In sum, a flurry of ‘continuous attacks’.

 

 The kata, which features this waza the most (six times)—and with the most variations—is obviously 岩鶴 (Gankaku). This includes two single (directly advancing) Manji-uke; one advancing and spinning followed by a drop; and three as a Kamae balanced on one leg. Each of these three are initiated jodan sotonagashi-uke doji ni shuto gedan uchikomi, and followed with a simultaneous yoko-geri keage and uraken yokomawashi uchi, then concluded with a ‘tsuki’ (once ‘oi-zuki’ and twice ‘sokumen-zuki’.

 

 分解 (Bunkai) vs. 応用 (Oyo):

I need to apologize in advance for explaining this point again, but this is important in Shotokan Karate as 武道 (Budo)/武術 (Bujutsu).

 In our style, 分解 (Bunkai) is analysis—not ‘application’; that is, its to learn the exact movements, trajectories and completed positions. It is only for the initial learning phase of each respective kata and as a reference for ensuring your actions and positioning are correct. One problem here is that many instructors and organizations only know and teach this.

 

A vivid example of this is simultaneous attack with a chudan mae-geri from the front and a jodan oi-zuki from the rear. There obviously is zero realism in such a scenario, but this perfectly represents the trajectory and completed positioning of manji-uke.

 

応用 (Oyo), on the other hand, is “practical application” of the movements—single waza and sequences in the kata. These tactics/applications for rudimentary self-defense.

 

Conclusion:

As outlined above manji-uke is executed in several different ways—especially in regards to body shifting/footwork/transitions (and with various initiations and follow-up waza). While this may seem complicated, it isn’t. The oyo is always natural and takes into account the variables in unarmed self-defense. In the case of manji-uke, depending on its use, can be applied as a simultaneous joint attack and choke, double arm cover then counterattack, a simultaneous defense and counter or a takedown. Note how striking, grappling and a mix of both are all included. This is because, in the real world, they obviously cannot be compartmentalized/separated.

 

Again, and unfortunately, many instructors practice and organizations teach a form of Shotokan which is utterly ineffective outside of the karate world. Bunkai is the rule of thumb, and it even challenges the attackers more than the defenders to attack correctly’ in order to ‘help the respective waza to work’. For such people and groups, the Manji-uke ‘bunkai’ above might as well be their application. Taken as a whole, if an application requires a cooperative partner to work, it is not Oyo. Likewise, if application requires a specific response from an opponent, it is not the Budo/Bujutsu application of kata. Keep in mind these two points, that I always tell my students and trainees: “…minimal fine motor skills and reliable effectiveness are the constant/intrinsic traits of Oyo.”

 

In sum, all of these, when understood—and practiced correctly and consistently—it clearly elucidates why  卍受け (上段内受け同時に下段受け)’ appears so many times in the standard 26 Shotokan Kata.

 

© Andre Bertel. Oita City, Japan 2024.

Wednesday 8 May 2024

Some points on 回し蹴り (Mawashi-geri)

Kizami mawashi-geri in 'Jiyu kumite no kihon-renshu'

 For the IKS  初段 (Shodan) examination at least two forms of mawashi-geri are always featured in the kihon portion of the test: the first is the snapped mawashi-geri and the second is ‘follow through’ version. The third, which is sometimes “requested” by the examiners I’ll get to later. 

The snapped mawashi-geri is 回し蹴りから中段逆突き (Mawashi-geri kara chudan gyaku-zuki). The ‘follow through’ rendition is 回し蹴りから後ろ蹴り蹴込み  (Mawashi-geri kara ushiro-geri kekomi).

 

In both cases the head of the kicking kneecap goes (is aimed at) to the opposite side of the target; thereby, if not controlled will be ‘full-contact round kick’. Needless to say, aiming to merely reach the target is not only ineffective, but also actually grooving a bad habit. However, this is a common error, especially amongst sports karate-centric practitioners. In stark contrast with the sports karate approach, the techniques of Budo/Bujutsu karate are always practiced for optimal effect in and outside of the dojo.

 

Obviously the ‘follow through’ mawashi-geri, by nature, is the full contact kick. It literally, when missed or when practiced without a target, spins the respective kicker right around. The momentum of this type of mawashi-geri naturally flows into a kaiten-waza. In the case of ushiro-geri following it (like in the Shodan Exam), the ‘circle and line’ principle is applied, which is, of course, a fundamental attacking tactic.

 

More subtle is the snapped mawashi-geri, which is the 'common practice'. Again, the key here is "correct maai positioning of the kicking knee". We not only aim through the respective target but we also ‘axe’ this kick in combination with kicking snap. This requires that the trajectory of mawashi-geri is a high arc and that tai no shinshuku of the jiku-ashi/sasae-ashi is properly applied. The hiki-ashi and rapid recovery of the tachikata into shomen is also critical in kihon-renshu: with or without a follow-up technique and orchestrated accordingly.

 

The karada no buki (weapon of the body) is primarily Josokutei/Koshi (“the ball of the foot”), however, Sune (“the shin”) is also used.

 

In some instances, as mentioned at the start of this article, 刻み回し蹴り (Kizami mawashi-geri) is also featured in the Shodan exam. This is requested instead of Kizami mae-geri (in the combination of Shuto chudan-uke kara kizami-geri soshite nukite). Nonetheless, in this case, the examiner clearly states ‘Kizami mawashi-geri’. Furthermore, the aforementioned points in the ‘snapped’ rear leg mawashi-geri still apply. A major factor in lead leg kicks is a concerted drive of the support leg and one’s bodyweight going into the target (as opposed to going rearward).

 

It is worth stating here, for those lacking flexibility or who are injured, that kicking high is not necessary. Loss of form, and because of this—loss of effectiveness— is incorrect/counterproductive karate practice/training.

 

Accordingly, one should: (a) only practice kicking to the height which form is not sacrificed; and (b) to where power is enough to potentially finish the opponent.


For example, I have seen many karateka with great form and flexibility kick jodan seemingly perfectly, yet when kicking the pads or sandbag with their waza, lack sufficient impact power. In this case, test the kick at lower targets, and then do strength work to build up extra muscularity to effectively execute them at whatever targets are possible for you as an individual. DON'T BE A STANDARD SYLLABUS KARATEKA!!! Maximize yourself!!!

 

Needless to say, gedan mawashi-geri is a very effective waza and must be in everyone’s repertoire. Like other gedan-keriwaza it is strong, swift, close, harder to see and defend against, is less dangerous for the user (balance-wise) and opens the opponent head/face for an instant upper body attack.


In sum, irrespective of the waza, Mawashi-geri or otherwise, in Budo/Bujutsu Karate, the main point is always training effective waza for a real altercation. This is the base of IKS Kihon, Kata and Kumite practice.

© André Bertel. Oita City, Japan (2024).

Thursday 25 April 2024

ONE SEMINAR IN EUROPE THIS YEAR!!! Freital, Germany, in September!!!

 押忍 (Osu) and Greetings from Oita City, Kyushu, Japan. This year I am only doing ONE SEMINAR IN EUROPE. It will be held in FREITAL, GERMANY on September 7th and 8th. 



Also, this year, there will be no filming, only from our official camera. Therefore, only those who participate will access the full content of the seminar. Yes, we will provide a video, but it will only contain snippets of what will be taught over the two days. So, for those who attend, you will get the knowledge, but not the 'karate couch potatoes'.

 

For those who are serious about Karate as BUDO/BUJUTSU, this seminar will be very special. A unique event in 2024 for those truly wishing to advance their skills, and that of their students.

 

For those wishing to attend, I encourage that you pre-book early, in order to not miss out.

    押忍! 

André


© André Bertel. Oita City, Japan (2024).

Wednesday 24 April 2024

Trainees from Québec, CANADA

Jocelyn "Strob" Simard and his son Yamato (from Saint-Sauveur, Québec, Canada) came as trainees. Jocelyn’s wife Yuka (originally from Osaka) and his younger children, Yuto and Sayuki also came to the dojo.

The training focused on 基本 (KIHON), including the following focal points: (1) Choku-zuki  mechanics; (2) Koshi no kaiten in zenkutsu-dachi—especially utilizing the rear leg correctly; (3) Gyaku-zuki basic and kumite application; (4) Fumidashi in zenkutsu-dachi; (5) Oi-zuki; (6) The four core ‘closed fist’ ukewaza with focus on hanmi and hikite; (7) Using gyaku-zuki after each uke to test that zenkutsu-dachi hanmi is correct and a full shomen can be achieved with maximum effect and stability.


Other points were covered, but the aforementioned were the main aspects. Moreover, as for the fine details, I have not detailed them here! As they are for Jocelyn and Yamato. This, of course, is the same for all Renshusei. 

With Yuka, Yuto, Jocelyn and Yamato after the training.

(KATA)

(A) 平安初段 (Heian Shodan) with special focus on unsoku, tai no shinshuku (kahanshin and jouhanshin), zenkutsu-dachi shomen and hanmi, and kakato-chushin. In sum, this was to review the aforementioned kihon and expand on this.

 

(B) 燕飛 (Enpi). Emphasis on correct waza (technique), tachikata (stance), unsoku (leg movements), koshi no kaiten (rotation of the hips), junansei (softness)m and tai no shinshuku (the contraction and expansion of the body), which is so evident in this kata. Also some exercises from my instructor, Asai Tetsuhiko Shihan, for movement 36: "Hidari kaiten-tobi kara migi shuto chudan-uke (Migi ashi mae fudo-dachi kara hidari kokutsu-dachi)'.

 

Overall, this post is only a brief overview of Jocelyn and Yamato training here. I wish them both the very best in their on-going karate development. 

It was great to meet and spend time with all five of you. 

押忍!!   

アンドレ

 Jocelyn, me, Yamato and Sayuki outside Yusuhara Jinja.

© André Bertel. Oita City, Japan (2024).

Sunday 21 April 2024

限界まで!

限界まで!  (GENKAI MADE)

I don’t mean this term negatively or crazily, but in the context of CHALLENGING ONESELF. It means "TO THE LIMIT".

 

Today in my self-training I pushed myself to the limit.

 

This is not always possible to stay in good health, but occasionally, and obviously, very productive. This year I'm 48 years old, so I'm still very young, but I'm seeking the karate of Asai Sensei when he was 71, just before he passed away. I'm nowhere near his level.


Saying "GENKI MADE", doesn't mean being stupid. We must not hurt ourselves. It is all about balance for each individual person. 


The best karate, irrespective of health and injury is in one's 50s, 60s and 70s. Asai Sensei proved that to me. This is the karate I'm personally seeking and teaching.


押忍!  アンドレ

 

                 © André Bertel. Oita City, Japan (2024).

Thursday 18 April 2024

Training Regime Variation

Today I did a slight variation from my current training regime, (especially in regard to my kihon practice, for those interested you may find it interesting to compare and contrast this). In sum, I'm posting this to highlight variations, which I intermittently do through the month.

I wish everyone here in Japan and around the world the very best of health and high-level training.

For those of you coming to Japan as Renshusei here at the Dojo, or attending upcoming seminars, see you soon! International Karate Shotokan has many special events in Japan and abroad coming up.

押忍!

André Bertel

KIHON

From Zenkutsu-dachi with Gedan-barai:

 

Classical tsukiwaza – ‘Base Form’ for Koshi no Kaiten (GYAKU-KAITEN + JUN-KAITEN).

 

  1. Oi-zuki
  2. Gyaku-zuki

 

From jiyu na kamae (Jiyu-dachi):

 

Combinations with “TSUKIWAZA” utilizing tobi-kaiten, tsugi-ashi, okuri-ashi etc…

 

  1. Kizami-zuki kara jodan gyaku-zuki
  2. Kizami-zuki kara chudan gyaku-zuki
  3. Jodan oi-zuki kara jodan gyaku-zuki
  4. Kizami-zuki kara jodan oi-zuki soshite chudan gyaku-zuki

 

“Legs followed by hands”

 

  1. Mae-geri keage kara jodan oi-zuki soshite chudan gyaku-zuki
  2. Mawashi-geri kara uraken yokomawashi uchi soshite chudan gyaku-zuki
  3. Kizami mawashi-geri kara chudan gyaku-zuki
  4. Ushiro-geri kekomi kara uraken yokomawashi uchi soshite chudan gyaku-zuki

 

From Zenkutsu-dachi with Gedan-barai:

 

Classical renzokuwaza – ‘Base Form’ Uke-Tsuki… Big Hanmi and tight Shomen + variations.

 

  1. Jodan age-uke kara jodan gyaku-zuki, chudan soto-uke, chudan gyaku-zuki, chudan uchi-uke, jodan kizami-zuki, chudan gyaku-zuki, gedan-barai, teisho jodan age-zuki, shuto chudan uke (kokutsu-dachi) soshite chudan tateshihon-nukite.

 

KATA

1. Tekki Shodan

2. Jitte

3. Maizuru Sho

 

 

KUMITE

Uchikomi followed by throws (in my current training regime).

Jitte (十手)

© André Bertel. Oita City, Japan (2024).

Monday 15 April 2024

Current self-training regime

 Here is my current self-training regime. 

OSU - AB.


移動基本 (IDO-KIHON)

The first two 連続技 (Renzokuwaza) are hand attacks, the first with closed fists from the free style position and the second with open hands in zenkutsu-dachi. The first primarily relies upon propulsion and moving the center; whereas, the second primarily relies upon the whip like ‘muchiken’. The main point is to maximize the effectiveness of each individual waza.

 

1. (自由立ち、自由な構え) 上段刻み突きから上段追い突きそして中段逆突き (Jiyu-dachi, jiyu na kamae) Jodan kizami-zuki kara jodan oi-zuki soshite chudan gyaku-zuki.

 

2. (前屈立ち) 手刀上段外回し打ちから手同じで手刀上段内回し打ち、手刀縦回し打ちそして背刀上段外回し打ち (Zenkutsu-dachi) Shuto jodan sotomawashi uchi kara te onaji de shuto jodan uchimawashi uchi, shuto tatemawashi uchi soshite haito jodan sotomawashi uchi.

 

The next three combinations are ‘Legs followed by hands’. This requires the high and compact chambering of each keriwaza, relaxed and sharp kicking snap (whipping out and back, again applying the principles ofmuchiken) and body power and weight into to follow-up tewaza; in particular by ‘sinking the support leg’ after kicking to expand again for the drive forward.

 

3. (自由立ち、自由な構え) 中段前蹴り蹴上げから上段追い突きそして中段逆突き (Jiyu-dachi, jiyu na kamae) Chudan mae-geri keage kara jodan oi-zuki soshite chudan gyaku-zuki.

 

4. (自由立ち、自由な構え) 回し蹴りから後ろ蹴り蹴込み、裏拳上段横回し打ちそして中段逆突き (Jiyu-dachi, jiyu na kamae) Mawashi-geri kara uraken jodan yokomawashi uchi soshite chudan gyaku-zuki.

 

5. (前屈立ち、自由な構え) 横蹴り蹴上げから足同じで横蹴り蹴込みそして中段逆突 (Zenkutsu-dachi, jiyu na kamae) Yoko-geri keage kara yoko-geri kekomi soshite chudan gyaku-zuki.

 

The next five idokihonwaza I’m working are the five foundational ukewaza followed by counteractions. The main focal point is to prioritize the initial action (unsoku, tachikata, waza) before making the follow up actions. In sum, ‘attack with uke’. Stressing the 腰の回転 (koshi no kaiten) at the very last moment and the maximization of the 引き手 (hiki-te).

 

6. (前屈立ち) 上段揚げ受けから上段逆突き (Zenkutsu-dachi) Jodan age-uke kara jodan gyaku-zuki.

 

7. (前屈立ち) 中段外受けから中段逆突き (Zenkutsu-dachi) Chudan soto-uke kara chudan gyaku-zuki.

 

8. (前屈立ち) 中段外受けから上段刻み突きそして中段逆突き (Zenkutsu-dachi) Chudan uchi-uke kara jodan kizami-zuki soshite chudan gyaku-zuki.

 

9. (前屈立ち) 下段払いから手同じで裏拳上段縦回し打ち、手同じで上段段横回し打ちそして中段逆突き (Zenkutsu-dachi) Gedan-barai kara te onaji de uraken jodan tatemawashi uchi, te onaji de uraken jodan yokomawashi uchi soshite chudan gyaku-zuki.

 

 

10. (後屈立ち) 手刀中段受けから刻み前蹴りそして中段縦四本貫手 (Kokutsu-dachi) Shuto chudan-uke kara kizami mae-geri soshite chudan tateshihon-nukite.

 

The final waza is the classic Nakayama Masatoshi Sensei’s ‘enpi combination’. The main focus is on junansei of the shoulders, use of the core, and transitions to maximize damage damage to the opponent with the respective elbow strikes.

 

11. (前屈立ち) 縦猿臂から前猿臂、寄り足(騎馬立ち) 横猿臂、回転しながら猿臂、回りながら下がって横揚げ猿臂そして落とし猿臂 (不動立ち) (Zenkutsu-dachi) Tate-enpi kara mae-enpi, yoriashi (Kiba-dachi) yoko-enpi, kaitenshinagara-enpi, mawarinagarasagatte yoko-age-enpi soshite otoshi-enpi (fudo-dachi).

 

 

(KATA)

鉄騎初段 (Tekki  Shodan)

十手 (Jitte)

舞鶴小 (Maizuru Sho)

 

 

組手 (KUMITE)

 

Presently working some of my favorite nagewaza, in Jiyu-Kumite, namely:

A. Ippon seoinage (一本背負投): Single-handed shoulder throw.

B. Seoi nage (背負投): Shoulder throw.

C. Uchi mata sukashi (内股透): Inner thigh void throw.

D. Uki otoshi (浮落): Floating drop.

 

© André Bertel. Oita City, Japan (2024).

Wednesday 10 April 2024

Some still images from self-training this morning

Here are some pictures from my self-training today. I think the images say more than text. I wish all who read this post the very best in your training! OSU - AB
Mae-geri keage kara oi-zuki. Keep the shisei (posture) as much as possible.

Migi jodan age-uke fires directly from the hiki-te position and is 'sent' via the hip action and 'shoulder snap'.

Hidari gedan-barai (higher grades must adjust the 'uke height' based on their physique and optimal effectiveness, as opposed to the basic 'one fist above the lead leg).

Chudan soto-uke... Elbow set but the uke wrist inverted.

Shuto chudan-uke.



Tateshuto chudan-uke. 

Migi chudan gyaku-zuki.


押忍!!

 © André Bertel. Oita City, Japan (2024).